PROPHECISED FATE
by Joel-Gomes
Summary: Previous chapters revised. New scenes added. Part 1 of my post IOTH quadrology is now finished. A big thank you to all my reviewers, critics and everyone else who read this and told me to finish it. This one is dedicated to all of you. Hope you like it.
1. Chapter 1

**PROPHECISED FATE**

** Joel Gomes**

DARKNESS

We hear footsteps approaching. Then...

A candle is lit.

INT. STONE WALL CORRIDOR – TIME UNKNOWN

A monk walks along the corridor using the candle to light his path.

He reaches a rusty iron door and produces a key from his vests pocket. He hesitates briefly before inserting the key and turning the door open.

The door opens with a piercing screech like it hasn't been used in a long time.

At the far eastern corner, stands a man. He's staring at the wall, rigid as if dead.

MONK  
It is time brother.

OCCUPANT  
(nods)  
I see.  
How much does he know?

MONK  
We don't know for sure. We know he has been in Carthis and two of the scrolls are now missing.

The occupant hunches his shoulders. He turns slightly...

ESTABLISHING SHOT – THE CENTRE – NIGHT

TITLE: A WEEK LATER. BLUE COVE. DELAWARE

INT. THE CENTRE. SIM LAB – NIGHT

TITLE: SIM LAB. SL-10

A man with white hair and piercing blue eyes walks around the lab. He examines some of the things that were found at Jarod's lairs and smiles occasionally. [Note: This is the same man who featured on the prequel "Home Coming"

The surveillance cameras are capturing all his doings, but he seems unmindful to them.

CAMERA POV

The man presses a button, revealing the projection screen. Suddenly, he senses someone watching him and looks back toward the air vent.

INT. THE CENTRE. AIR VENTS – NIGHT

Angelo backs away from the grid and starts crawling away frantically. He's scared like he's never been before.

He crawls for a while until he reaches his safe haven at the deepest recesses of The Centre.

He tries to calm himself down, but all he can think about is...

ANGELO  
Evil man... Evil man... Evil man...

INT. MISS PARKER'S BEDROOM – NIGHT

Miss Parker is sleeping. Unlike other nights, this one is being very restful, but then...

Her cell phone rings. She picks it up.

MISS PARKER  
What?

SYDNEY (V.O.)  
Sorry to disturb you at this hour, Parker. Did I wake you?

MISS PARKER  
(checks the clock)  
It's 3 o'clock in the morning, Freud. What makes you think I would be asleep?

SYDNEY (V.O.)  
Something has come up. I need you to come to my place.

MISS PARKER  
I'll be there tomorrow morning before I go to The Centre.

She is about to hung up, when Sydney talks back.

SYDNEY (V.O.)  
This is urgent, Parker. I need you here NOW.

MISS PARKER  
(getting up)  
This better be good, Syd.

She hangs up.

INT. SYDNEY'S HOUSE. LIVING ROOM – NIGHT

Sydney comes from the kitchen, carrying two mugs with tea.

SYDNEY  
She'll be here soon.

Sydney hands one of the mugs to his nighttime visitor.

SYDNEY  
This will help you relax.

Angelo takes a slow sip and frowns.

SYDNEY  
I probably should have added sugar.  
I'll be right back.

Sydney goes to the kitchen and returns moments later with sugar and a spoon. He hands the items to Angelo.

Angelo sits next to Angelo and takes a sip from his mug.

They are both enjoying the moment, despite the awkwardness.

SYDNEY  
You want to tell me now why you're here?

ANGELO  
Must wait Daughter first. She needs know too.

SYDNEY  
Very well, then. We'll wait.  
But, in the meantime...  
(reaches for his pocket and produces a pair of Cracker Jacks)  
I was told you like these.

Angelo smiles and nods. He opens the pack and stuffs one of the cookies in his mouth like a small child.

Sydney smiles.

EXT. ROAD – NIGHT

Miss Parker's car is traveling way above the speed limit.

INT. CAR – NIGHT

Miss Parker tries to fight sleep. Her cell phone rings. She reaches inside her purse, finds the device and answers it.

MISS PARKER  
What?

JAROD (V.O.)  
Miss Parker! I'm surprised you're not asleep.

MISS PARKER  
That you wish. Where are you now, monkey boy?

CUT TO:

EXT. COFFEE-SHOP – DAY

TITLE: ROME

Jarod is sitting on a table at a Roman street-café.

JAROD  
A few hours away from there.

MISS PARKER (V.O.)  
(yawns)  
Why are you calling, Jarod?

INTERCUT – JAROD / MISS PARKER

JAROD  
Ethan sensed something wrong. He asked me to call you.

MISS PARKER  
(more alert)  
He's with you?

JAROD  
No. He's with my father right now. He called me half an hour ago. Told me to call you and check how you were doing.

MISS PARKER  
Tell him I'm fine. What about him, how's he doing?

JAROD  
Better by the day.

Jarod signals the waiter and mouths the word "espresso".

MISS PARKER  
I'm glad for him.

JAROD  
I know you are.  
(beat)  
And where are you going at this time of night?

MISS PARKER  
Sydney called. Something urgent has come up, he said.

JAROD  
You think it's related?

MISS PARKER  
I don't know, but anything is possible.

JAROD  
I gotta go. Keep me posted, will you?

The call is ended.

Miss Parker puts the phone back in the purse and hits the gas.

EXT. ROAD – NIGHT

Her car gains speed.

EXT. COFFEE-SHOP – DAY

A waiter brings Jarod an espresso.

JAROD  
Grazzie.

Jarod looks around, scanning the crowd. He adds sugar to his coffee and stirs it. He takes a sip.

ANDREW (O.S.)  
There is something about an Italian espresso that always leaves you wondering.

The voice confirms that this is the man who was confined in the cell.

Jarod looks back and sees a man in his early seventies. The man is wearing a dark suit. Jarod gasps as he sees him.

JAROD  
Mr. Fennigor...

The man sits down.

MAN  
I figured you'd be surprised.

JAROD  
I thought you were dead.

MAN  
You're referring to my brother Michael.

The man extends his hand.

ANDREW  
My name is Andrew.

Jarod hesitates for a moment. Then, he shakes Andrew's hand.

ANDREW  
You seem troubled.

Jarod looks around, trying not to be noticed, but Andrew sees it.

ANDREW  
I had you followed since you arrived on Italy. If I wanted to capture you, I would have done it by now, would I not?

JAROD  
Why are you here, then?

ANDREW  
You came here following a lead.  
I am the one who planted it.

INT. SYDNEY'S HOME. LIVING-ROOM – NIGHT

A car is heard outside.

SYDNEY  
Finally.

Sydney gets up, goes to the front door and opens it before Miss Parker has time to press the bell.

SYDNEY  
Sorry to call you so late, but my unannounced guest sternly insisted on your presence.

They enter the living-room and she is caught by surprise.

MISS PARKER  
Angelo? What's he doing here?

SYDNEY  
I was waiting for you to find out.  
Can I get you some tea?

MISS PARKER  
(answers automatically)  
Sure.

Sydney goes to the kitchen.

Miss Parker sits on a chair. Angelo smiles to her. She yawns and says nothing.

Sydney returns with a mug and hands it over to Miss Parker. He grabs his mug and sits down.

SYDNEY  
She's here now, Angelo.  
Why don't you tell us what happened?

Angelo takes a folded piece of paper from his pocket and gives it to Miss Parker.

Miss Parker unfolds the paper. It's a surveillance photo from the man who was roaming around the Sim-Lab. The time stamps indicate 0:15.

MISS PARKER  
This was taken tonight.

Sydney looks at the picture.

SYDNEY  
Who is this man, Angelo?

ANGELO  
Evil man.  
(grabs Miss Parker's hand)  
Jules.

SYDNEY  
Jewels? What do you mean?

MISS PARKER  
(gets up)  
Forget it, Syd.

Miss Parker walks around the room, examining the picture.

MISS PARKER  
There's something about him...

Sydney notices her look.

SYDNEY  
Are the Voices telling you that?

MISS PARKER  
(nods)  
But that's all they're telling.  
(sits down and drinks her tea)  
Jarod was probably right.

SYDNEY  
Jarod?

MISS PARKER  
He called me on my way here. Always seems to know, somehow.  
Apparently, Ethan sensed something too.

SYDNEY  
You think it's related?

MISS PARKER  
Wouldn't be the first time, right? Besides, you and I both know there are no coincidences when it comes to The Centre.

Miss Parker finishes her tea and gets up.

SYDNEY  
Where are you going?

MISS PARKER  
WE are going back to The Centre.  
Come on, Angelo.

Angelo looks down.

SYDNEY  
You want to go there now?

MISS PARKER  
If we go now, we might still catch him.  
Angelo, come on.

Angelo shakes his head frantically.

Sydney  
Angelo, are you alright?

Angelo begins to rock himself, murmuring something.

MISS PARKER  
I've never seen him this way.

SYDNEY  
He was troubled when he arrived. But not like this.

Miss Parker sits next to Angelo and tries to calm him down. She hears his mantra.

MISS PARKER  
He's saying 'evil man'. Who is he, Angelo?

ANGELO  
(ignoring)  
Evil man... Evil man...

SYDNEY  
This is not normal. Angelo has always felt safe inside The Centre.

MISS PARKER  
If you don't include Raine's experiments, maybe.

SYDNEY  
I meant that he's spent his life there. I know he could have gotten away if he wanted, but he didn't. Now he's afraid to go back.  
I don't like this.

MISS PARKER  
Angelo, we need to know who that man is.

Angelo stops rocking, looks at her.

ANGELO  
Vespasian.

Miss Parker and Sydney exchange a knowing look. She gets up, retrieves her cell phone from her purse and makes a call.

SYDNEY  
Who're you calling?

She doesn't say anything. The call is answered.

MISS PARKER  
Broots, I need you to come to Syd's place.

BROOTS (V.O.)  
Miss P... It's four am. Can't this wait?

MISS PARKER  
Come here now. Or I'll pick you up myself.

BROOTS (V.O.)  
Fine. There's a key under the door mat-

MISS PARKER  
Broots!

BROOTS (V.O.)  
All right...

She hangs up.

MISS PARKER  
I'll have Broots run a check on our mystery man.

SYDNEY  
What about Angelo? We can't just keep him here. They will find out he's missing eventually.

MISS PARKER  
Do you mind keeping him here just for tonight?

SYDNEY  
Not at all.

MISS PARKER  
OK...  
(sits down)  
Now we wait for Broots.

EXT. STREETS OF ROME – DAY

Jarod and Andrew walk among the crowd. They reach the number 48.

ANDREW  
This is where your final journey will begin, Jarod. Will you follow me inside?

Jarod hesitates.

ANDREW  
The choice is yours, but if you want to know the truth...

JAROD  
I do. It's just...

ANDREW  
Truth can be a very complicated thing. You will have to make some hard choices. Believe me when I tell you that this will be the easiest decision to make in the nearest future.

Andrew knocks on the door and a woman opens it. Andrew enters, turns around to look at Jarod.

ANDREW  
What will your choice be, Jarod?

Jarod takes a deep breath and follows Andrew inside, closing the door behind him.


	2. Chapter 2

INT. MAJOR CHARLES' CABIN – DAY

TITLE: THE DAY BEFORE. PHOENIX

The door opens and Major Charles enters the cabin with a bag of groceries.

MAJOR CHARLES  
I'm back!

JASON (O.S.)  
Over here!

We follow Major Charles through the hallway to a bedroom. He turns the knob.

INT. MAJOR CHARLES' CABIN. ETHAN'S BEDROOM – DAY

There are two beds. Ethan's is the one nearest to the window. Ethan appears to be hallucinating. Jason (Gemini) is sitting by Ethan's bed, checking his temperature.

Major Charles enters the room.

MAJOR CHARLES  
How's he doing?

JASON  
His temperature is a little better, but that's all the good news I have. His biggest problem right now is psychic.

MAJOR CHARLES  
Can't you help him with that?

JASON  
I'm trying. But, I don't know Ethan's file. Apart from Jarod, who's in Italy, Em's the one who knows more about him. We could call Mr. Raines, but I doubt he'd be glad to answer our questions.

MAJOR  
Well, your sister won't be here until tomorrow.

Ethan starts having a fit, as if fighting an invisible assailant.

ETHAN  
No! Don't go there!

Major Charles and Jason try to calm him down.

MAJOR CHARLES  
Easy son, you're safe. Relax.

Ethan starts to calm down, opens his eyes, breathing heavily. He looks at Major Charles and Jason.

JASON  
Who were you talking about?

ETHAN  
(thinks)  
I... I...  
(a beat, blinks)  
can't remember.

EXT. ROAD – DAY

TITLE: BACK TO PRESENT TIME

Emily's car is approaching a gas station. Emily parks her car, gets out and starts walking to the convenience store when her cell phone rings.

She checks the number. It's an anonymous call. She looks around - no one but the employees - before answering it.

EMILY  
Yes...? Who is this?

Emily's eyes widen when the person on the other side answers.

INT. HOUSE IN ROME. DINNING-ROOM – DAY

Jarod and Andrew finish eating.

JAROD  
This was delicious. Very good macarroni.

ANDREW  
When in Rome, do as a roman. Of course, I think you are very familiar when it comes to pretending.

JAROD  
(grins)  
A bit.

ANDREW  
(gets up)  
Well, shall we?

Jarod gets up and follows Andrew out of the dinning-room.

Jarod and Andrew walk through the hallway to a room at the end of it.

Andrew sits on a chair. A waiter walks in.

ANDREW  
Please, have a sit.

Can I get you anything?

JAROD  
(sits)  
No, thank you. I'm fine.

ANDREW  
Very well. Vittorio...

The waiter nods and closes the door, leaving the two alone.

ANDREW  
So... where do I start?

JAROD  
The beginning would be nice.

ANDREW  
Not enough time. Besides, I do not know the entire story myself. Instead let us focus on why you are here.

JAROD  
I'm here to learn the truth.

ANDREW  
Ah yes, the truth.  
And what truth is that? Might I ask?  
The truth about you? About your past? The truth about The Centre? About the scrolls?  
What truth are you referring to?

Jarod doesn't know how to answer.

ANDREW  
Not an easy question, I reckon.  
Let us begin with the scrolls, since they're the main source.

JAROD  
The main source of what?

ANDREW  
Everything.

Andrew gets up, goes to a shelf, chooses a book and flips the pages until he finds out what he's looking for – an astrological map.

He displays the book on a nearby table. Jarod gets up and joins him.

ANDREW  
As you know, there are twelve different zodiac signs. Also, there are twelve months and each day when divided in two equals twelve. It is a mystical number. Its significance is uncanny. It is the beginning and end of all things.  
It is like a story, you see. Good and evil, light and darkness. Everything that exists needs to have an opposite force on the other side.

JAROD  
What does that have to do with me?

ANDREW  
You already answered yourself that.  
When you escaped from The Centre, instead of giving top priority in finding your family, you chose to help those in need.  
No doubt, a man like you would have no trouble in finding his parents if that was in fact what he really wanted.  
Keep in mind, I am not saying you are unable to find them; I am just saying that maybe you do not want to.  
Maybe you are afraid they will not accept you, maybe you are afraid you might put them in danger. Whatever the answer may be, you are the only one who knows it.  
The truth, as I see it, is that you are an exacting force, a counterbalance to the evil influence of The Centre.

JAROD  
You said we were going to talk about the scrolls.

ANDREW  
I am not going to give you all the answers, Jarod. Mostly because I do not have them.  
However, I can provide you with some information that will put you on the right track.

JAROD  
I was hoping you'd be a little more helpful.

ANDREW  
There are things that only the Chosen can know. Things that would make anyone else lose their sanity.

Jarod's mind flashes back to the moment before Mr. Parker jumped from the plane.

INT. PLANE – DAY - FLASHBACK

Mr. Parker finishes reading the scrolls.

MR. PARKER  
It's time to end the curse.

PRESENT

JAROD  
The scrolls.

Andrew nods.

INT. THE CENTRE. MISS PARKER'S OFFICE – DAY

Miss Parker is finishing a report. Broots knocks and enters.

MISS PARKER  
What did you find?

BROOTS  
I've been digging on him like you told me to and...

MISS PARKER  
Yes, and...?

BROOTS  
Well, I went everywhere. Centre's database, Triumvirate's mainframe...

She frowns slightly.

BROOTS  
(notices it)  
They were the ones who sent him, actually.  
(smiles)  
Besides, they're using my security program.

Miss Parker  
(annoyed)  
And?

Broots  
Nothing. I even went to the...  
(slightly disgusted)  
Bodily Fluid Storage Facility. There's not a record of him anywhere.

Miss Parker  
So, in other words, you don't know who he is?

Broots  
It's like he doesn't exist.

Miss Parker  
But he does. And we need to know who he is.

Broots  
I'll get back to work.

EXT. GAS STATION – DAY

TITLE: CHICAGO

Emily enters the car, with a bag of groceries and drives away.

INT. EMILY'S CAR – DAY

Emily is driving. Her mind flashes to her childhood days.

EXT. PUBLIC PARK - DAY- FLASHBACK

A five year old Emily is having a picnic with her parents.

The scene turns to a slow motion play. Major Charles notices two black cars parking.

Two teams of sweepers come out and start walking towards them.

Margaret grabs Emily and they start to flee.

The image blurs.

INT. EMILY'S CAR – DAY - PRESENT

Emily wipes a tear with the back of her hand.

INT. HOUSE IN ROME – DAY

ANDREW  
Exactly.  
History is made of true facts, most of which are represented by documents. Documents that were made by men.

Jarod  
What're you saying?

Andrew  
I'm saying that if supported by strong evidence today, no matter how ludicrous it may seem, a lie today will be a universal doctrine tomorrow. And that is why they want you.

Jarod  
Because they think I'm something I'm not?

Andrew  
No, because they know the scrolls contain a secret that only you can decipher. It is part of the prophecy. The very same prophecy that announced your birth centuries before it happened.

Jarod is dumbfounded.

ANDREW  
When the right time comes, you will understand what I am saying. Right now, let us focus on the scrolls.

JAROD  
What does that have to do with the scrolls?

ANDREW  
As far as I know, there are twelve scrolls. This information is not accurate, because no one has ever been allowed to read it. Those of us who tried have gone insane. Apparently...

JAROD  
Apparently what?

ANDREW  
You were in Carthis. What did you learn about the Parker family?

JAROD  
I learned that the Crypt Keeper read the scrolls and then killed his family before he went to America.

ANDREW  
Where he founded The Centre.

The scrolls were by then under the protection of a very powerful group.

JAROD  
The Knights Templar.

Andrew goes to a desk, opens a drawer and retrieves a rolled up painting. He unrolls it and shows Jarod the image.

ANDREW  
Take a look.

Jarod examines the painting. It shows a group of nine knights with the Templar cross emblazoned on their backs sitting at a round table. There are three extra vacant seats.

ANDREW  
Most historians claim that the Knights Templar were founded by nine men who swore to protect a secret. Yet, as important as the secret may be, it is also significant the fact that they were twelve knights instead of nine.

JAROD  
What happened to the other three?

ANDREW  
Greed, thirst for power. The quintessential of human nature.  
They found themselves with something that could change the world and chose to use it the wrong way.  
But, that much was supposed to happen.  
The scrolls carry the power of good and evil with them. Three out of twelve went the other way but they left allies in the inner Templar circle that eventually led to their disappearance.  
Those three men who left called themselves...

JAROD  
The Triumvirate.


	3. Chapter 3

ANDREW  
Indeed. The Triumvirate has been pulling the strings on worldwide events and ever since its latest changes in leadership its influence has grown considerably wider.  
It is our belief that two of the scrolls were hidden in Africa and two others in America.  
There are men who have spent their entire lives searching for these parchments. Like a holy crusade. Some suspected what they were, others had absolutely no idea, but they all knew one thing: they meant power to the one who found them.  
Throughout the centuries, this has been a quest, undoubtedly one with more followers than the quest for the Holy Grail. It gets even more fascinating if you consider how much information exists about the scrolls, which is virtually none.  
Still, The Triumvirate knew about this and so did the Knights Templar. Perhaps not fully, but they had a good idea. And that is what caused their public damnation. All orchestrated, I should tell you. I may not have lived in that time, but I have heard the word passed on from generation to generation.  
History can be manufactured, I already told you that, it all depends on what the Powers That Be intend it to be.

JAROD  
Where are you getting at?

ANDREW  
After its extinction, the Knights Templar dismantled into several orders; all of them claiming to be the true descendents of the Knights of Solomon.  
Well, let me tell you this: none of them were and all of them were.

JAROD  
I don't understand.

ANDREW  
In order to exist, the order had to disappear. And in order to disappear, it had to reappear with numerous faces. Several lies to hide one truth.  
The secret had to be protected and Carthis was the best location to do it. Scotland had already been used when the Knights Templar traveled to the unofficially discovered American continent.

JAROD  
The American continent wasn't officially discovered before 1492.

ANDREW  
'Officially' being the key word. Nevertheless, I should let you know, they were not the first ones there. The Vikings had already been there and so had the Egyptians. It is all fabrications, Jarod.

JAROD  
That's why you think there are scrolls hidden in America.

ANDREW  
I don't just think, but let us get back to Carthis.  
It was decided that the two most important scrolls would be hidden there and protected at all costs.  
I am proud to say my family has guarded that secret for the last six centuries. We gave our lives for it.  
You have been in Carthis and you found the scrolls, but there is one thing you have not yet discovered.

JAROD  
And what's that?

ANDREW  
There is a map in Carthis that pinpoints the location of all the scrolls.  
My grandfather witnessed the madness that possessed the Cryptkeeper. He was his personal assistant and his closest friend. He knew where the scrolls and the map were and that posed a threat to brother Theo.  
He managed to escape and hide the map in another location.  
The fact that Theo traveled to the United States and then to South Africa to increase his power on The Triumvirate is reason enough to believe that he has read six of the scrolls. It is possible that he has read them all. And if he did, it may be too late to stop him, but we must try it.  
We must go to Carthis and find the map.

INT. THE CENTRE. TECH-ROOM – DAY

Broots is working at his computer. We focus on the screen monitor. He's doing an image search on the mystery man when he hears footsteps approaching. He types a few commands and the screen changes to a newspaper clip about Jarod.

Miss Parker approaches Broots.

MISS PARKER  
Well?

BROOTS  
Nothing so far.

MISS PARKER  
You need to worry more. I just received information that The Triumvirate is coming here.

JULES (O.S.)  
Wrong.

Miss Parker and Broots turn their heads and see Jules near the entrance, followed by Mr. Raines and Lyle.

JULES (CONT.)  
I'm already here.

Broots is scared senseless. Miss Parker tries to maintain her composure, but even Raines and Lyle seem to be uncomfortable near this man.

MISS PARKER  
Who are you?

RAINES  
Mr. Perrgodak is the new appointed leader of The Triumvirate.

JULES  
Yes, I am. And please, call me Jules.  
(approaches Miss Parker)  
Miss Parker, you look astonishingly beautiful. Just like your mother.  
(kisses her hand)  
Mr. Broots...  
(nods)  
Well, I should let you go back to work.  
(nods to the monitor)  
Good luck with that search, Mr. Broots.  
I hope you find what you're looking for.

The three men exit the room.

BROOTS  
He knows. Somehow, he knows.

MISS PARKER  
Who the hell is this guy?

Broots returns to his search. One positive match found.

BROOTS  
Look. There's a reference here to a documentary called... this is creepy... 'SECRETS OF THE DEAD'.

MISS PARKER  
Let's see what the dead have to say.

Broots clicks on the link.

BROOTS  
It's about the Zulus.

MISS PARKER  
The Zulus?

BROOTS  
Yeah.  
(clicks)  
It was directed by Mark Lewis.

MISS PARKER  
Check the credits. Find out if... Perrgodak is anywhere mentioned.

BROOTS  
(typing, mumbles)  
What kind of name is that anyway?

The search comes back empty.

BROOTS (CONT.)  
Nothing.

MISS PARKER  
Keep looking. There's gotta be something there.  
That Ian Knight sounds familiar. Run a search on him.

Broot types "Ian Knight" in the search engine.

32.400 results found.

BROOTS  
We need to narrow this down.

MISS PARKER  
Let's try this another way.  
Run a search on Perrgodak using the picture too.

Broots types "Perrgodak" on the search line.

No results found.

BROOTS  
No good.

MISS PARKER  
There's gotta be something.

BROOTS  
Maybe it's an alias. An anagram, y'know?

MISS PARKER  
Can you try other combinations?

BROOTS  
I can use an anagram generator and see what happens.

MISS PARKER  
Do it.

A list of combinations shows up.

ON SCREEN

GRADE PORK  
EDGAR PORK  
DARK GROPE

BROOTS  
This is it.

MISS PARKER  
Try the last one.

Broots runs a search on 'DARK GROPE' associated with the picture.

One result. He clicks on it.

A window with a map of Scotland appears.

Broot clicks the image and a flash presentation begins.

ON SCREEN

A sequence of images related to the Knights Templar as a background. Imposed on it are the lines:

WHERE IT ALL BEGAN  
WHERE IT CONTINUES  
WHERE IT WILL NEVER END

The presentation ends with an image of the Chapel of Souls.

MISS PARKER  
He knows we're onto him.

BROOTS  
He's setting you a trap.

MISS PARKER  
Get a chopper. I'm going there.

BROOTS  
(stutters)  
What? Miss Parker, are you sure--?

MISS PARKER  
Get a chopper, Broots.  
And keep searching. I'll be back.

BROOTS  
When?

Miss Parker exits the room without answering. Broots picks up the phone.


	4. Chapter 4

INT. THE CENTRE. MISS PARKER'S OFFICE – DAY

Miss Parker is packing her stuff when Sydney enters.

SYDNEY  
I was going to invite you to lunch.

MISS PARKER  
Sorry, I was just leaving.

SYDNEY  
I know. Broots told me about your discovery.

MISS PARKER  
That little weasel...

SYDNEY  
Are you sure you should do this?

MISS PARKER  
As sure as I can be of anything in my life.

Sydney approaches her.

SYDNEY  
Parker...

MISS PARKER  
I need answers, Sydney.

SYDNEY  
It may be a trap.

MISS PARKER  
I know it is.

SYDNEY  
I can't convince you to stay?

MISS PARKER  
No.

Miss Parker walks to the door and leaves.

SYDNEY  
Be careful.

EXT. ATLANTIC OCEAN – NIGHT

TITLE: ON THE WAY TO CARTHIS

Jarod and Andrew are on a boat. Jarod is doing all the heavy work.

ANDREW  
You sure you do not want any help?

JAROD  
I'm fine, don't worry.

ANDREW  
You are not calling me old, are you?

JAROD  
You are old. There's no use in denying that.

ANDREW  
Old age does not necessary mean lack of strength or vice-versa, Jarod.  
It all comes from these two places  
(points to the heart)  
here  
(point to the head)  
and here.  
Never underestimate your opponent, no matter how weak, old and feeble he may seem.

JAROD  
I won't.

ANDREW  
Still, there is one thing I don't understand.

JAROD  
What's that?

ANDREW  
Why have you not purchased a boat with an engine?

JAROD  
Too noisy. Besides, I got a good price on this one. Plus, I didn't have to register it.

ANDREW  
You think there is someone on the island?

JAROD  
After that last storm I'm sure most people returned to their homes.

ANDREW  
I mean, from The Centre.

JAROD  
That's why we need to keep a low profile.

INT. THE CENTRE. LYLE'S OFFICE – DAY

Lyle is calmly eating some Chinese leftovers when Mr. Perrgodak (Jules) comes in unannounced. Lyle barely hides his fear, has to put the package down to avoid spilling.

Jules  
I like your reaction, Mr. Lyle. Although in your case, I'm not sure if fear is a symbol of respect.

Lyle  
(swallows, tries to look cool)  
What can I do for you, sir?

Jules  
(smiles)  
Right to the point, hey?  
You know... I've been watching, Mr. Lyle. For a very long time, now.  
(walks closer to the desk)  
I know all your secrets, all your leverages you have on The Centre and the Triumvirate and, quite frankly, I'm not the least bit interested.

Lyle  
Sir, wha-

Jules raises his left hand, silencing Lyle instantly. Lyle tries to talk but he's unable to, even breathing becomes harder.

Jules puts down his hand. Lyle tries to catch his breath.

Jules  
As I was saying... I don't care about what you know, or what you can do, understand?

Lyle nods.

Jules (cont.)  
What I care about is whether or not your capable of fulfilling the assignment I'm about to give you.

Lyle  
Sure. If you need anything I'm your man.

Jules  
Prove yourself worthy and you might have a place in my new administration. Otherwise...

Lyle  
What's the assignment, sir?

Jules retrieves a small picture from his pocket and hands it over to Lyle.

Jules  
I'll be leaving to Carthis in a few minutes. While I'm gone, I want you to kill this man.

EXT. ATLANTIC OCEAN – NIGHT

The trip continues.

JAROD  
What happened to your brother?

ANDREW  
My brother... Michael was a troubled man. He had... a condition... double personality kind of thing... Not separated, all mixed up. I can not explain it because I never really understood it.  
Some doctors thought it was a bipolar disorder, but it was much worse than that.

JAROD  
How did he end up on the other side of the fence?

ANDREW  
He did not. But he made them believe so.

JAROD  
How?

ANDREW  
We met Catherine a few years before she got married to Mr. Parker. At the time, our father was still leading the group. You see, since the foundation of The Centre, my group has tried his best to stay in the shadows and still undermine their malevolent influence.  
We received information that The Centre had people watching Catherine and another girl. My father told us she was part of a Centre experiment. Our first impulse was to go over to her and tell her, but our father advised us to wait. There were more people involved and we needed to find out whom or instead of saving one we would endanger dozens.

JAROD  
What experiment was it?

ANDREW  
Something called the Green Files. It was initiated in 1927. We believe it is a follow up to another project launched in 1910 called Progeny.

JAROD  
Catherine Parker was one of the subjects.

ANDREW  
That is why he decided to make contact with her.  
My brother was a researcher. He got a job on The Centre and began an inside investigation.  
Me, Michael and Thomas, we were all together on this.

JAROD  
Thomas?

ANDREW  
We called him Tommy. Tommy Thompson. Michael recommended him to Catherine. Her husband was suspicious, but he eventually accepted it.

JAROD  
Dr. Thompson was signed to work with another Pretender. Alex.

ANDREW  
I know about Alex.

JAROD  
What d'you know about him?

ANDREW  
I know we failed to save him.

JAROD  
You were going to rescue him?

ANDREW  
Alex was the first of The Pretender Project, but he never got past the second place in the ranking. You were always number one. He resented that.  
The four of us were supposed to rescue you, Eddie and Alex.  
A week later, more children started to come. We could not do it alone. We needed more help.

JAROD  
Jacob.

ANDREW  
He tried to convince Sydney, but there was an accident.

JAROD  
It was no accident, it was The Centre.

ANDREW  
(nods)  
We had to postpone everything.

JAROD  
What I don't understand is why was Mr. Parker paying your brother to keep quiet?

ANDREW  
He was not paying to keep him quiet. Mr. Parker was providing my brother with relevant information, information only he could have access to. The trick part was: in order to receive that information my brother had to play the Judas role.  
At first he said no, but then they discovered his most precious secret. His family.

JAROD  
They threatened to kill them unless he worked for them.

ANDREW  
It was not as simple as that. They brainwashed him, Jarod. My brother became the very symbol of what we were trying to defeat.

JAROD  
What was the project about?

ANDREW  
We never knew for sure. We know it began before she was even born and followed her entire lifetime as a mechanism of control.  
Her entire history is stored in files. It is a like a personal diary.

JAROD  
Progeny.

ANDREW  
We also know this: the Convent she grew up in was administered by The Centre. They were everywhere.

JAROD  
Still are.

ANDREW  
Even her family doctor worked for The Centre.

JAROD  
Werner...

ANDREW  
Who?

JAROD  
Werner Krieg. He was a medical doctor, a butcher more likely, in Dachau. He performed experiments on twins.  
Later on, I learned that he had been hired by The Centre. If my thoughts are correct, Sydney and Jacob must be part of the Green Files too.

ANDREW  
And there are more. I am sure of it, though we do not know who they are.

INT. MAJOR CHARLES' CABIN – DAY

Major Charles is making lunch. Ethan and Jason show up, coming from the room.

MAJOR CHARLES  
Feeling better?

ETHAN  
Yeah. It smells good.

MAJOR CHARLES  
It will taste better, trust me.

JASON  
It better. I don't wanna drive to the nearest town for a decent meal.

MAJOR CHARLES  
I'll give you the leftovers, don't worry.

JASON  
So, any word on Em?

MAJOR CHARLES  
Nothing. I'm beginning to worry.

JASON  
You tried to call her?

MAJOR CHARLES  
Yes, but unfortunately your sister has a bad habit of forgetting to charge her cell phone batteries.

ETHAN  
What about Jarod? Anything from him?

MAJOR CHARLES  
He went to Carthis. Told me his new acquaintance has something to show him there.

JASON  
Ethan, you said something about "not going there". You think it's about Jarod?

ETHAN  
No... Not Jarod... Someone else.  
(closes his eyes, then snaps)  
Miss Parker.

INT. THE CENTRE. SYDNEY'S OFFICE – DAY

Sydney is at his desk going over some files. The phone rings. He answers.

SYDNEY  
This is Sydney.

ETHAN (VO)  
Sydney... Is my sister still there?

SYDNEY  
Who is this?

ETHAN (VO)  
Ethan. Is she there?

SYDNEY  
No. She already left. How d'you know?

Dead line.

INT. MAJOR CHARLES' CABIN – NIGHT

Ethan puts the phone down.

ETHAN  
She's gone. I gotta go help her.

Ethan moves to the door. Major Charles stops him.

MAJOR CHARLES  
It's too dangerous. You're staying here.

ETHAN  
She's my sister.

MAJOR CHARLES  
She knows how to care of herself.

ETHAN  
I don't care. She's in danger. And I'm not gonna sit by and wait for her to die like you're doing with Em!

Ethan leaves and slams the door.

JASON  
Dad...

Major Charles leaves to his room.

Jason exits the cabin.

OUTSIDE – CONTINUOUS

Jason goes after Ethan.

JASON  
What the hell do you think you're doing?

ETHAN  
What needs to be done. She saved your life. I'd expect a little more gratitude.

JASON  
I'm not saying you're wrong, Ethan. You just didn't have to speak to dad the way you did.

ETHAN  
I was hoping he would understand it better. Instead he wants to keep me locked up like a two year old.

JASON  
He's spent the last three decades running and hiding. His family is practically together now. You need to understand that.

ETHAN  
She's my family too, Jason.

JASON  
Let's wait for tomorrow. Maybe Em will call us and then we'll decide what to do, ok? Besides, now that Jarod's there he won't let anything happen to her, right?

ETHAN  
I hope not.

JASON  
Good. Let's go.

Jason and Ethan walk back to the cabin.

EXT. SHORES OF CARTHIS – NIGHT

Jarod parks the boat near the beach. With Andrew's help they drag the boat across the sand and hide it behind some bushes.

ANDREW  
You think this will do it?

JAROD  
There's no reason for anyone to suspect we're here. As long as they don't see the boat, they won't see us.

ANDREW  
You are the expert. So where do we start?

JAROD  
We scout the island first, only then will we begin our search.

Jarod produces a black leather bag from the boat, unzips it and finds two flashlights. He gives one to Andrew. Then he takes out a gun, checks it and puts it in his inside pocket.

JAROD  
Ready?

Andrew nods.

The two men begin moving swiftly through the night. All communication is resumed to gestures.

EXT. CARTHIS – NIGHT

All the lights are out. The streets are empty.

JAROD  
We're not alone.

ANDREW  
Are you sure? I do not hear anything.

JAROD  
Precisely. You said so yourself: the map is hidden here. Do you think The Centre would risk having a villager finding it?

ANDREW  
Are you saying they...?

JAROD  
I hope not, but it wouldn't surprise me.

ANDREW  
My God... But why now?

Suddenly, they hear the sound of an helicopter approaching. They hide to avoid being detected by the light.

The helicopter lands and Miss Parker and Sam exit.

ON MISS PARKER

MISS PARKER  
(to the pilot)  
Be back in three hours.

PILOT  
Yes, Miss Parker.

The helicopter takes off, leaving Miss Parker and Sam behind.

SAM  
I hope you know what you're doing.

MISS PARKER  
Trust me Sam, the last thing we need is someone using the helicopter to flee this place and leave us behind.

ON JAROD

He smiles as he hears Miss Parker. Andrew watches the duo, not understanding Jarod's reaction.

Miss Parker and Sam walk away.

ANDREW  
She sure looks like her mother.

JAROD  
More than she admits.

ANDREW  
Do you want to follow them?

JAROD  
At least so we know if there's anyone else on the island.

Jarod and Andrew start following Miss Parker and Sam through the streets of Carthis.

ON MISS PARKER

SAM  
Where are we going?

MISS PARKER  
There's a chapel nearby. We'll start there.

SAM  
How come you didn't want Sydney and Broots to come with us?

MISS PARKER  
Because I have the feeling things are gonna get ugly. And if they do, I don't want to have to worry about protecting my partner's ass. You and me, we're not afraid to pull the trigger. Sydney's a good shooter too, but he's getting old for this and Broots...  
Broots would probably shoot his own foot.

SAM  
You're right. It would be too dangerous for all of us.

EXT. CHAPEL OF SOULS – NIGHT

Miss Parker and Sam arrive at the chapel.

ON JAROD

Jarod and Andrew watch them from two blocks away.

Miss Parker and Sam enter the chapel.

ANDREW  
You think they came here to meet with someone?

JAROD  
I don't know. Sydney and Broots are not with her.

ANDREW  
Who is Broots?

JAROD  
One of her team-mates. She never leaves them behind, unless she's expecting to find trouble. And if that's the case, I doubt she's here to meet anyone.

ANDREW  
You think they are looking for the map too?

JAROD  
Let's wait for a while.

ANDREW  
And then what?

JAROD  
We'll see.

INT. CHAPEL OF SOULS – NIGHT

Miss Parker and Sam walk along the nave.

SAM  
Creepy place.

MISS PARKER  
Sshhhh.

Sam shuts up.

OUTSIDE

Jarod and Andrew approach the building and look through the window. They see Miss Parker and Sam near the altar.

ANDREW  
There is a secret passage behind that altar.

JAROD  
Is that where the map is?

ANDREW  
Part of it.

JAROD  
Part of it? What does that mean?

ANDREW  
The map is stored in a vault. The key that opens it is hidden in another vault. Behind the altar is the key that opens that second vault. However, the key is only useful if they know this strategy.

JAROD  
You think they know?

ANDREW  
It does not seem like they do. Otherwise they would have already opened it.

JAROD  
Maybe they're waiting for someone.

As if to support his statement, they hear a car approaching. Quickly, they hide behind a dumpster and stay quiet.

The car engine stops.

They wait.

Moments later, a team of sweepers comes running toward the chapel.

Jarod doesn't know any of them, but when he sees the last one there's a vibe.

He knows that face. And so does Andrew.

ANDREW  
Dear God!

JAROD  
Do you know who he is?

The group reaches the chapel and starts positioning.

Andrew is about to answer when the group enters the chapel with their guns drawn and ready to fire.

JAROD  
You tell me later. Right now we need to help Miss Parker and Sam.

ANDREW  
What do you have in mind?

JAROD  
We need something to divert their attention.

INT. CHAPEL OF SOULS – NIGHT

Miss Parker and Sam are still.

Jules enters the chapel.

JULES  
I thought you were smarter than walking right into the wolf's lair like this.

MISS PARKER  
What the hell do you want?

Jules walks toward Miss Parker and stops two feet away from her. He looks at the altar and smiles.

JULES  
You're almost on the right track. Of course, I doubt you're aware of it.

The sound of shootings outside distracts the sweeper, giving Miss Parker and Sam a chance to run for cover and open fire.

Jules is shot twice in the chest and falls down.

Two sweepers leave the chapel.

OUTSIDE

Jarod sees the two sweepers exiting the chapel.

They begin looking for where the shots came. The car engine is turned on and they run toward it.

INSIDE CHAPEL

Jarod goes in the chapel and sees three sweepers behind the back benches. One of them opens fire, allowing his partners to reposition behind the pillars.

Miss Parker and Sam are cornered.

Jarod knocks the first sweeper down. The distraction gives Sam the opportunity to shoot the sweeper close to him.

Miss Parker and Jarod aim at the remaining sweeper. There's nothing he can do, so he just drops his gun.

MISS PARKER  
Wise. Now, turn around.

He does. Miss Parker hits him in the head with the butt of the gun and knocks him out too.

Sam is now aiming his gun at Jarod.

Jarod and Miss Parker still aiming at each other.

MISS PARKER  
What you're doing here, Jarod?

JAROD  
I came here to help.

MISS PARKER  
I don't need your help.

JAROD  
There are more sweepers outside. We NEED to get out of here.

MISS PARKER  
(fumes)  
Fine.

OUTSIDE

The trio leaves the chapel.

They run to the nearest corner and stay there. Jarod checks his watch.

A few moments later, Andrew shows up driving the car.

ANDREW  
Did it work?

JAROD  
Yes. What about you?

ANDREW  
I left them on the other side of the island.

Miss Parker can't see the driver's face, but his voice...

She walks closer to take a better look.

MISS PARKER  
Mr. Fennigor...

ANDREW  
No. I'm the other one.

MISS PARKER  
(puzzled)  
The other one?

Jarod opens the door

JAROD  
C'mon, get in.

Miss Parker hesitates.

JAROD  
Miss Parker, trust me.

MISS PARKER  
If you try anything, I'll make you regret it.

They get in and drive away.


	5. Chapter 5

EXT. STREETS OF CARTHIS – NIGHT

The car travels through the streets of Carthis.

INSIDE THE CAR

Miss Parker's face is a whirlwind of emotions. Anger, confusion, amazement, all fighting amongst each other until only one subsides: determination.

MISS PARKER  
(to Andrew)  
Who are you?

JAROD  
Now is not the time, Parker.

MISS PARKER  
Shut up, Jarod.

Jarod sighs, but doesn't retort.

Andrew  
I will be happy to answer whatever questions you may have but, for the moment we must find a safe haven for ourselves.

SAM  
Yes, but where? All the streets are empty. There are no hiding spots.

Andrew  
Maybe not here but the forest is full of them. There is a cave there which I think will be perfect.

OUTSIDE

The car exits the city area and enters the forest.

It travels for a while and finally stops close to a cave entrance partially covered by vegetation.

They exit the car.

MISS PARKER  
Now, I'll ask again: who are you?

Andrew  
(to Jarod)  
Is she always like this?

Jarod  
No. sometimes she can get quite impatient.

INT. THE CENTRE. VENTILATION SHAFT

Angelo crawls through the vents. Apparently, he no longer feels threatened. However, fear may be gone, but his rush is a sign that something is going to happen soon.

INT. THE CENTRE. SYDNEY'S OFFICE - DAY

Sydney is working on some reports when Raines and Lyle burst in. Despite their sudden appearance, Sydney maintains his posture; calmly gathers his papers and stares at both men with a blank expression.

SYDNEY  
Yes?

Lyle  
Cousin It is gone.

Sydney  
(puzzled)  
IS that one of Broots' friends?

Lyle  
No, it's not and you know it.

Raines  
Enough.  
Do you know where Angelo is?

Sydney  
No. I haven't seen him lately.

Lyle  
Neither have we. No one has.

Raines  
His room has been vacant for almost 48 hours.

Sydney  
That doesn't mean he's gone. He's probably inside the vents. Have you checked inside them yet?

Raines  
It would be a waste of time and energy; he could evade us easily. And besides, for what purpose would he hide in the vents for two days?

Sydney  
We both know Angelo has his own way of understanding things.  
Perhaps, you should check his quarters once more.

Raines  
Yes, but this time you're coming with us.

Sydney  
Fine.

Sydney closes the folder, puts it inside his desk drawer and locks it. Then, he gets up and follows Raines and Lyle out of the office.

INT. THE CENTRE. ELEVATOR SHAFT

Sydney, Raines, Lyle and Willy reach SL-16.

CORRIDOR – CONTINUOUS

TITLE: SL-16

They exit the elevator and walk through the main corridor until they reach the only occupied room at the area.

Willy approaches the iron door and looks through the small glass window.

Willy  
He's there.

Raines  
What?

Raines goes to the door and looks inside.

raines  
How the hell did he get back?

Sydney hunches his shoulders. Lyle eyes him suspiciously but keeps his thoughts to himself.

Raines  
(to Willy)  
Open the door. I want to talk to him.

Willy takes a key from his pocket and opens the door.

Raines walks inside the room.

Inside – CONTINUOUS

Angelo is sitting calmly at his bed.

Waiting. Mumbling. Staring.

Raines  
Where have you been, Angelo?

Angelo doesn't respond. Raines walks closer and starts hearing Angelo's mantra. He tries to discern it but it only sounds like incoherent dribble.

Sydney  
What's he saying?

Raines  
Nothing.

Sydney enters the room and goes to Angelo. He listens for a while. And for a second he understands some of the words.

Ângelo  
(whispers)  
Itego arcana dei.

Raines  
What was that?

Sydney  
Don't know. Drabbling, I think.

Lyle  
He's probably gone for good. Let's face it. There never was anything that precious to lose anyway.

Raines  
Don't underestimate Angelo's abilities. He's been a valuable asset for The Centre for a long time.  
More than you, actually.

Lyle  
Yes, but I'm here and he's there.

Lyle walks away.

Raines  
(to Sydney)  
Find out what he knows or I will.

Raines exits the cell and walks away. Willy follows him.

Sydney sits next to Angelo.

Sydney  
You took a big chance.

Angelo  
Safe now. Evil man gone.

Sydney  
Is he dead?

Angelo doesn't respond.

Int. major charles' cabin – night

Major Charles, Jason and Ethan are finishing their meal.

Jason  
These leftovers were very good!

Major Charles  
Why, thank you.

Ethan  
Huh... Dad, I... I wanted to apologize.

Major charles  
That's okay, son. I probably shouldn't be too over protector myself. She is your sister, after all. It's my fault too.

Ethan  
Still, if there's anything I can do for you to make it up...

Major CHARLES  
Well, now that you mention it, I'm a bit reluctant about tasting Jason's dessert.

Ethan  
You want me to be a guinea pig?

Jason  
Hey! Come on! I tried my best!

Major charles  
If Ethan survives it, I'll believe you.

Ethan  
(to Jason)  
I hope you've outdone yourself this time.

The three laugh out loud.


	6. Chapter 6

EXT. FOREST - NIGHT

Jarod, Miss Parker, Andrew and Sam are still near the cave's entrance.

MISS PARKER  
(to Jarod)  
You brought me out here. Now talk.  
What's going on?

Jarod looks to Andrew; thinks for a while, then turns to Miss Parker.

JAROD  
Follow me.

Jarod walks to a more isolated area. Far enough not to be heard, close enough to keep an eye on Sam.

Miss Parker follows him with an annoying look on her face.

MISS PARKER  
(annoyed)  
Are you ready to talk now?

JAROD  
(hesitates)  
It's about the scrolls.

MISS PARKER  
What about the scrolls? They were tossed in the ocean, remember? They're gone.

JAROD  
Not exactly. It seems those weren't the only existing scrolls.

Miss parker  
(lifts her eyebrow)  
How many more are there?

JAROD  
Ten. That is, assuming those two are really gone.

MISS PARKER  
Twelve scrolls...  
(displeased)  
Great.  
And you came here because?

JAROD  
Andrew's grandfather lived on this island.

Miss Parker stares at the man talking to Sam. The world around her disappears.

She focus on him, closes her eyes.

She listens.

The vision shatters.

Jarod is touching her shoulder.

JAROD  
Are you all right, Parker?

Miss parker  
(still staring at Andrew)  
Who is he, Jarod?

JAROD  
Someone who can help us.

MISS PARKER  
(turns to him)  
Tell me more.

JAROD  
His grandfather was the Cryptkeeper's personal assistant. He was close to your grandfather and witnessed the insanity that overtook him.

Miss parker  
(referring to Andrew)  
Does he know my mother?

JAROD  
Yes. He and his brother tried to help Catherine rescue one child. The first member of The Pretender Project.

Miss Parker looks at Jarod.

MISS PARKER  
That was you, right?

JAROD  
No. I thought I was. But Alex came before I did.  
They had to change their strategy when more children started to came and people began to die.  
That's when Jacob joined them. And Tommy Thompson.

MISS PARKER  
Alex's personal trainer.

JAROD  
Yes.

MISS PARKER  
What happened to his grandfather, then?

JAROD  
Well, he knew he had to put a stop to the growing madness. So, he drew a map where he pinpointed where all the scrolls were located. After doing this, he burned all the documents that could refer to the scrolls or the map and left to Europe.  
Andrew told me the group he belongs to has been keeping tabs on The Centre since your grandfather arrived at America.  
They tried to stop him before, but he was too powerful.

MISS PARKER  
(absently)  
Power runs in the family.

JAROD  
Yes, it does. It all depends on how you choose to use it.  
Andrew told me some things that...  
(stops)  
The Centre is more powerful than we know, Parker. If we let them get their hands on the scrolls there will be no stopping them.

Miss Parker  
(thinks)  
I bet this is all related to Mr. Perrgodak.

Jarod  
(puzzled)  
Who?

Miss parker (cont'd)  
I mean, he was the one who scared Angelo away from The Centre, the one who drove me here—

JAROD  
Parker!

MISS PARKER  
What?

JAROD  
Who are you talking about? Who's that...  
(perplexed)  
Perrgo—

MISS PARKER  
Dak.

JAROD  
What kind of name is that, anyway?

MISS PARKER  
He's that guy with white hair I shot at the Chapel.

JAROD  
Who is he?

MISS PARKER  
That's what I came here to find out. So far, all I know is that he's, was, running the Triumvirate.

JAROD  
Andrew told me he looked familiar...

MISS PARKER  
Did he say where from?

JAROD  
No.

MISS PARKER  
So what do we do now?

JAROD  
You and Sam get back to The Centre.

MISS PARKER  
What?  
(laughs)  
No. I go where you go.

JAROD  
Parker, I need you there. I need someone I can trust to keep an eye on things.

MISS PARKER  
You saying you trust me, even after everything that has happened?

JAROD  
Whatever may or may not have happened was purely circumstantial. I know you better than that. I know most of the things you did were done because you had no choice, not because you thought they were the right thing to do.

MISS PARKER  
You're wrong.

JAROD  
Prove it then.

MISS PARKER  
What's stopping me from drawing my gun and take your ass back to The Centre?

JAROD  
You killed the leader of The Triumvirate. That's not the best of career actions.

MISS PARKER  
You always know everything, don't you?  
(smiles)  
What's your plan?

JAROD  
Call the chopper. Tell the pilot you'll be leaving early.

MISS PARKER  
Where are you going?

JAROD  
I don't know yet. Andrew does.

MISS PARKER  
How much do you trust him?

JAROD  
He has kept true to his word, so far.

Miss Parker takes her cell phone from her pocket and presses a button.

MISS PARKER  
Ted? We need that chopper now.  
(hangs up)  
Time to get back.

She puts the cell phone back in her pocket.

MISS PARKER  
Let's go.

Jarod nods. This time, he's the one following; a smile on his face.

We follow the duo back to the spot where Andrew and Sam are.

ANDREW  
That is very true. I had no idea.

MISS PARKER  
You two having fun?

ANDREW  
Your assistant has a very keen sense of humour.

Miss Parker lifts her eyebrow. Jarod is as confused.

MISS PARKER  
Sam?

ANDREW  
So, what did you two decided?

JAROD  
I told her the best she could do is to go back to The Centre and keep an eye on things.

SAM  
Are you sure this is a good idea?

MISS PARKER  
What d'you mean, Sam?

SAM  
I mean, you were brought here by the leader of The Triumvirate, a man you just killed. I may be wrong, but I don't think they're expecting your return.

JAROD  
I doubt they would go to all this trouble just to have her killed. No, I think he wanted her to come here.

MISS PARKER  
He told me I was on the right track.

JAROD  
But to where?

MISS PARKER  
Something on the island he wanted me to know about it.

JAROD  
We need as much information as possible.

MISS PARKER  
Broots is already doing that. He's got less than nothing so far.

ANDREW  
Which is why it's best for you to return to The Centre. If anyone asks you were following a lead.  
(throws her the car keys)  
Take the car.

MISS PARKER  
Wait a second. If we take the chopper, how will you get back?

JAROD  
We'll swim.

MISS PARKER  
(surprised)  
You'll what?

JAROD  
Don't worry. We'll be fine.

EXT. CHAPEL - NIGHT

Andrew and Jarod walk to the Chapel. Andrew is a bit tired.

JAROD  
I told you we should have made a stop.

ANDREW  
I'm fine. The faster we find the map and get out of here, the better.

They enter the chapel.

JAROD  
Oh, my God.

Andrew looks around; sees several bodies lying (including the two sweepers who left the chapel to chase him). Not one of them has white hair.

ANDREW  
Didn't she say she killed him?

JAROD  
Yes. And she doesn't lie about her shootings.

ANDREW  
Where is he, then?

JAROD  
I don't know. You think he's got the map?

Andrew pales, but quickly regains his composure.

ANDREW  
No. If they knew where the map was, they would have come here a long time ago.

JAROD  
Maybe they didn't know where the map was before.

ANDREW  
Let's hope they still don't.  
(turns toward the nave)  
Follow me.

Andrew approaches the altar and presses a hidden pedal.

The altar moves to the left, revealing a hidden flight of stairs.

SECRET CORRIDOR – CONTINUOUS

Andrew walks down the steps. Jarod follows him close behind.

A long corridor, lighted by torches, extends for about thirty meters. At its end, stands a heavy wood door.

Andrew reaches the end of the corridor. He hesitates before pushing the door open.

The door slides open silently.

ANDREW  
This door was supposed to be locked. Someone was here recently. This door should be out of use for at least twenty years and yet...  
(moves the door back and forth)  
Hear that? No screeching. I don't like this, Jarod.

Andrew walks inside the room.

Jarod notices the symbol carved on the floor, the eight headless skeletons.

JAROD  
What kind of madness happened here?

ANDREW  
The same kind of madness we need to stop from happening out there.

Jarod watches as Andrews starts knocking the wall.

JAROD  
What are you looking for?

ANDREW  
The key.

Andrew hits a hollow spot, removes the brick and reaches inside.

Jarod watches as Andrew's face shifts from apprehension to puzzlement.

JAROD  
What is it?

Andrew pulls out a small envelope from the hole.

JAROD  
What's that?

ANDREW  
I don't know.

Andrew opens the envelope. There's a note inside.

Andrew  
(reads)  
You are too late.  
(tosses the paper away)  
Damn it! He took the key!

Andrew walks away from Jarod, tries to hide his anger.

JAROD  
Who did?

Andrew doesn't answer. He doesn't need to.

JAROD  
Andrew, who is he?

ANDREW  
I'm not sure who he is.

JAROD  
I remember his face. I don't know how, I don't where, but I do. I need you to tell me who he is.

ANDREW  
I told you, I don't know.

JAROD  
You're lying.

ANDREW  
I am telling the truth. I only saw that face once, but it cannot be the same person.

JAROD  
Who are you talking about?

ANDREW  
The Cryptkeeper.

JAROD  
Is that a joke?

ANDREW  
I wish it was. It is the same face. I... I don't know if it's really him.

JAROD  
Could it be a grandson or any other relative?

ANDREW  
I don't know. All I know is that the scrolls are very powerful.

JAROD  
Powerful enough to grant someone immortality?

ANDREW  
I hope not. I have a feeling immortal people can be very hard to kill.

Jarod considers this for a moment.

ANDREW  
We're wasting too much time here. We need to go to where the second vault is located while we have the chance.

Andrew walks out of the room.

Jarod takes one final look around and follows him.


	7. Chapter 7

INT. MAJOR CHARLES' CABIN – NIGHT

Major Charles, Ethan and Jason are sitting around the table. Everyone has a heavy look on his face.

MAJOR CHARLES  
I really don't think that's a good idea.

ETHAN  
Dad, we've been through this all-

MAJOR CHARLES  
(holds up his hands)  
I know, I know.  
All I'm saying is that maybe you should wait for Jarod to give us a call before flying to Rome on wild goose chase.

JASON  
Jarod may need our help.

MAJOR CHARLES  
We're not even sure if he's still there.

ETHAN  
He's there.

MAJOR CHARLES  
And how do you know th-  
(pauses)  
Nevermind...

JASON  
That's why we need to go there as fast as possible.

MAJOR CHARLES  
What if something happens to your sister on her way here? She's already taking longer than she was supposed to.  
Or what if Ethan starts having seizures again?

JASON  
You sound like an old lady, dad. Relax.  
Em's fine.

ETHAN  
Besides, I think my seizures were caused to force me to act. To be where I'll be needed.

MAJOR CHARLES  
Fine.  
Anyway, I'm getting too old to keep you two on a tight leash.

Ethan and Jason grin, so much like their brother.

MAJOR CHARLES  
So, when are you thinking about leaving?

ETHAN  
Just enough time to pack up some essentials and rest a little. Then we'll be on our way.

EXT. CARTHIS – NIGHT

Miss Parker and Sam watch as the chopper lands.

No words are exchanged as they enter the chopper and it flies off.

INT. CHOPPER – NIGHT

Miss Parker looks at ocean below; sees nothing but her reflection on the glass.

PILOT  
Where to, Miss Parker?

MISS PARKER  
Back to The Centre, Ted.

PILOT  
Sure thing, Miss Parker.

EXT. ATLANTIC OCEAN – NIGHT

On their small boat, Jarod and Andrew leave Carthis behind.

Jarod looks up and watches the chopper fly above them.

ANDREW  
You really like her.

JAROD  
I just hope she'll be fine.

ANDREW  
She will be.

EXT. ROAD - DAY

Emily's car drives along a low traffic road.

INT. EMILY'S CAR - DAY

Emily is focused on the road; her driving mechanic, her thoughts elsewhere. An occasional glance at the rearview mirror is the one time she diverts her attention.

EXT. GAS STATION – DAY – FLASHBACK

Emily's cell phone rings. After checking if no one's around, she answers it.

EMILY  
Hello?

We hear the voice from the other side for the first time.

MARGARET (V.O.)  
Emily? It's mom, honey.

A beat. Emily still in shock. Her heart gaining speed. Then...

MARGARET (V.O.)  
I can't talk much now. Listen carefully: someone is following you. You must outtrack before you meet your father.

EMILY  
How do you-

Click.

INT. EMILY'S CAR – PRESENT

Holding the steering wheel with her left hand, Emily reaches over the passenger seat and opens the glove compartment. Keeping her eyes on the road, she retrieves a thin manila folder. She puts it on her lap, opens it and looks at a 6/6 snapshot of Mr. White.

EMILY  
I know it's you, bastard.  
But if you think I'm running again, you got another thing coming.  
I'm done running.

Emily closes the folder and tosses it on the passenger's seat. She picks up her cell phone and dials a number.

INT. THE CENTRE. MISS PARKER'S OFFICE – DAY

Miss Parker is back at her office. While she is organizing her desk, she finds a post-it with a word scribbled on it: Lazarus.

She looks at the air vent. No surprise about who left the message there.

Raines bursts in.

RAINES  
Where were you?

MISS PARKER  
(without looking)  
Out.

RAINES  
Let me remind you, Miss Parker, that although our family status has changed, the rules of the game are still the same.

MISS PARKER  
The only thing that's changed between us is that the man I believed to be my father is now dead. That's it.

RAINES  
Sooner or later you will have to accept your heritage.

MISS PARKER  
I'll eat a can of live worms before I even think of you as more than just a walking corpse with emphysema.

RAINES  
I suggest you use that energy of yours in finding Jarod.  
The new Chairman expects results, not insubordination.

MISS PARKER  
I wouldn't worry much about the new Chairman if I were you.

RAINES  
What-

Someone knocks at the door.

Without waiting for a reply, Broots enters in a rush, carrying some papers.

BROOTS  
Miss Parker! Miss Parker! I-  
(finally sees Raines)  
S-sorry, I'll come back another time.

MISS PARKER  
Stay where you are, Broots. Mr. Raines was just leaving.

RAINES  
(nods)  
We'll continue this another time.

MISS PARKER  
No, we won't.

Raines leaves the office. Broots approaches the desk.

MISS PARKER  
What happened, Broots?  
You look like you've seen the Big Bad Wolf.

BROOTS  
I wish. I saw what drove him away.  
(hands her the papers)

MISS PARKER  
What's this?

BROOTS  
(looks around and whispers)  
Is it safe to talk?

Miss parker nods.

BROOTS  
Well, I was doing some maintenance on the security mainframe when I intercepted an e-mail to Raines' office.

MISS PARKER  
What's so scary about that?

BROOTS  
The Triumvirate is relieving Raines off his duties.  
They issued a sanction order on him.

MISS PARKER  
A sanction order on Raines?  
Who issued it? And why would someone warn him in advance?

BROOTS  
That's just it. The e-mail was deleted before Raines had any chance to see it.

MISS PARKER  
How do you know?

BROOTS  
Because I could see Raines and Lyle from my station while I was reading this.  
It was as if...

MISS PARKER  
What?

BROOTS  
As if someone knew I was checking Raines' account at the time.

MISS PARKER  
Do you know exactly who sent the e-mail?

BROOTS  
It's a recent account. High level of encryption. My guess is that guy...  
(has trouble saying the name)  
Perrgo... something.

MISS PARKER  
(mutters)  
A dead man's final wish.

BROOTS  
Sorry?

MISS PARKER  
So, he sends an e-mail meant to be intercepted. And then someone erases it before Raines is able to see it.  
(thinks)  
Can you find out who erased it?

BROOTS  
I already did. It was the same person who sent it.

MISS PARKER  
Broots, when was the e-mail sent?

BROOTS  
An hour or so before you arrived.

MISS PARKER  
That leaves our new friend out of the loop.

BROOTS  
Why's that?

MISS PARKER  
I put two bullets in his chest. I saw him dead.

Broots  
You... what?!

Miss parker  
Nevermind. Focus, Broots!

Broots  
Ok, ok. Maybe... maybe he programmed that e-mail to be sent at a specific time and to automatically erase itself.  
But it would have to be someone with enough clearance to access Raines' account.  
(pauses)  
Oh my...

MISS PARKER  
What?

BROOTS  
Raines' personal account can only be accessed through the computer at his office.  
Whoever erased that e-mail had to be there.  
And if he was...

MISS PARKER  
The camera's got him.  
Get to work, Broots.

BROOTS  
Right away, Miss P.

Broots is about to leave the office, when Miss Parker notices the post-it left on her desk.

MISS PARKER  
Hold on, Broots.

He turns. She gives him the memo.

MISS PARKER  
Run a search on this too.

Broots reads the post-it, puts it in his shirt pocket, nods and leaves.

INT. MAJOR CHARLES' CABIN - DAY

Major Charles is dozing off on the couch when his cell phone rings. He wakes up and answers it.

MAJOR CHARLES  
Hello?

EMILY (V.O.)  
Dad, it's me.

MAJOR CHARLES  
Emily?  
(straightens up)  
Where the hell are you? What's taking you so long to get here?

EMILY (V.O.)  
I left Chicago a few hours ago. Something came up.  
(beat)  
Mom called me.

MAJOR CHARLES  
(straightens up)  
Your mother? How is she? Where? What did she say?

EMILY (V.O.)  
Calm down, dad. I don't know where she is. She only told me someone is following me.

MAJOR CHARLES  
Did she say who?

EMILY (V.O.)  
She didn't, but I know who he is.  
It's White, dad.

MAJOR CHARLES  
That bastard.  
Tell me where you are. I'll meet you there.

EMILY (V.O.)  
No. You need to be there. I don't know why. I just feel it.

MAJOR CHARLES  
Your brother is the psychic one. You're trying to take his place now?

EMILY (V.O.)  
Call it a woman's intuition.

MAJOR CHARLES  
What about White? Think you can outtrack him?

EMILY (V.O.)  
I'm not running away, dad.

MAJOR CHARLES  
Emily, no! you don't want to stand up against him on your own!

EXT. PARKING LOT - DAY

Emily's car is parked in a diner's parking lot, facing the building's big sized window.

Hiding behind a tree, Emily sees a white sedan arrive at the parking lot and park on the opposite row.

The driver exits his vehicle. Unsurprisingly, it's White.

EMILY (CONT'D)  
Don't worry about me, dad.  
I just twisted the rules of the game and poor Whithey doesn't know it yet.

White goes inside the diner.

Emily closes her cell phone and moves swiftly from her hiding spot to White's car.

She sneaks behind his car, watching as White sits at a booth and waits for a waiter to get his order.

A waitress approaches, pen and pad in hand.

White makes his order, takes a picture from his pocket and shows it to the waiter.

The waiter nods.

White puts the picture back in his pocket.

The waiter walks away.

INT. DINER - DAY

WHITE'S POV

An abandoned purse on a booth right next to the bathroom.

No one's around.

EXT. PARKING LOT - DAY

EMILY  
(grins)  
You can wait all you want. I'm not there anymore.

Emily takes a set of pick-up tools out of her pocket.

EMILY  
Let's see if all those years on the run taught me anything.

She opens the set and moves from her spot to work on White's driver's door.

A click.

She opens the door and sneaks in.

A quick glance at the diner to make sure White is still at his booth.

She sees the waiter bringing White's request.

Emily opens the glove compartment. There she finds a gun, the car papers and a folder. Inside the folder are several snapshots of her – at the gas station, at her car, etc.

EMILY  
(almost smiling)  
You make this all too easy.

She closes the glove compartment and takes a deep breath.

EMILY  
Now, for the hard part.

Emily pulls the trunk open, exits the car and closes the door. She flips open her cell phone and dials a number.

INT. DINER - DAY

White is seemingly tired of waiting. He keeps staring at the abandoned purse at that distant booth.

He puts another fry in his mouth. A cell phone starts ringing.

White realizes it's coming from the purse. He looks toward the women's bathroom, smiling as if waiting for his prey to come out in a hurry.

But no one comes. After a while, the phone stops ringing.

Seeing his waiting is now useless, White gets up, goes to the booth, takes the cell phone from the purse, flips it open.

An unanswered call. And a new text message. He reads it.

'NICE TRY'.

White takes a deep breath, checks inside the purse. He finds nothing but shredded papers.

WHITE  
(throws the purse away)  
Damn it!

He quickly returns to his booth and takes a look outside.

Emily's car is missing!

White takes off his wallet, leaves a note on the table and leaves the diner.

EXT. PARKING LOT – CONTINUOUS

White walks to his car, gets in and drives away.

INT. THE CENTRE. SIM-LAB

TITLE: SL-10

Miss Parker and Sydney are in the middle of a conversation. Sydney is reading the papers Broots had previously delivered to Miss Parker.

Broots enters the lab with a folder under his arm.

BROOTS  
Oh, good. You're here.

MISS PARKER  
Have you found anything?

BROOTS  
I found the DSA from Raines' office, but I couldn't copy it without being discovered. Instead, I brought this.

Broots hands the folder over to Miss Parker. She opens it and sees a few black and white camera shots of a man inside Raines' office. To all appearances, it looks like Perrgodak.

MISS PARKER  
No front shot?

BROOTS  
No. I looked, but he kept his face away from the camera at all times.

MISS PARKER  
I need to be sure of his identity.  
What about Lazarus?

BROOTS  
(shakes his head)  
Nothing so far...  
Actually, I did find something; an old file relating Lazarus to the Green Files Project.

MISS PARKER  
Green Files? Have you ever heard of those, Syd?

SYDNEY  
Can't say that I have?

BROOTS  
Maybe it has something to do with the Pretender Project or the Red Files.

MISS PARKER  
There's only way to find out.

BROOTS  
It will take a while. I doubt some of these files are in any computer.

MISS PARKER  
What makes you say that?

BROOTS  
According to the date on the file, those have to the oldest Centre's projects.  
They were personally initiated by your great-grandfather, Miss Parker.

SYDNEY  
Broots, when was the project started?

BROOTS  
1933.

MISS PARKER  
My great-grandfather died in 1932.

BROOTS  
Well, it's his signature there.

Miss Parker stops listening for a moment. She closes her eyes. All around her disappears. She is listening.

SYDNEY  
Parker?

Miss Parker doesn't reply. Broots gets nervous.

BROOTS  
Syd...

Miss Parker opens her eyes.

SYDNEY  
You all right, Parker?

MISS PARKER  
Get some shovels, Broots. It's time to go dig again.

Broots sighs.

Sydney says nothing.

EXT. ROMAN STREET-CAFÉ – DAY

Where Jarod and Andrew first met. Another espresso. Perhaps the last.

Andrew  
This is where we part, Jarod.

JAROD  
What're you talking about?

ANDREW  
I cannot go any farther. You need to be on your own from now on.

JAROD  
That's it? He beats us to the map and you simply give up?

ANDREW  
There's a big difference between stepping aside and not being on one's way. He's much too powerful for someone like me.

JAROD  
But...

ANDREW  
Tell me, what did you feel when you first saw him?

JAROD  
I felt... It was as if I was looking at a twisted reflection of me.

ANDREW  
(nods)  
That is the power of the scrolls.  
You could feel him, couldn't you? Hear his breathing, feel his heart beat? Yes?

Jarod nods.

ANDREW  
And you were not surprised when you saw he was no longer at the chapel.

JAROD  
When I first heard of Carthis, about the fleeing monk, the all thing seemed so farfetched. And now...  
(beat)  
Andrew, if I can feel him... do you think he can feel me too?

ANDREW  
Yes, I do.  
And that is why I should be as far away from you as possible. That way you won't be diverted from your quest.

JAROD  
What if I need your help?

ANDREW  
In due time, people will come to assist you.

JAROD  
Who?

Andrew gets up.

JAROD  
Wait. Where are you going?

ANDREW  
Home.  
(smiles)  
Don't worry about me, Jarod.

JAROD  
Before you... I need to know more.  
(beat)  
About my past. Anything that helps.

Andrew sits again.

ANDREW  
I will tell you a story that might help you.  
Have you read the Apocrypha, Jarod?

JAROD  
I did a pretend as a professor of Theology once. Why?

ANDREW  
The Apocrypha claim that Jesus and Mary Magdalene had a daughter.  
After the crucifixion, and according to legend, Mary Magdalene travelled with her unborn child to Southern France, where the sacred bloodline was mixed with that of the Merovingian kings.

JAROD  
Isn't there a book about that?

ANDREW  
There are many books about this subject. Some of them very well researched, others not quite. But, all of which based on facts very well fabricated; all carrying a common mistake few are aware off.

JAROD  
And what mistake is that?

ANDREW  
The Merovingian ties are only a myth – a mere stratagem to distract everyone's attention.

JAROD  
From what?

ANDREW  
From where Mary Magdalene and her daughter really were.  
(beat)  
Right here in Rome.

JAROD  
That doesn't make any sense. If they were being chased by the Romans, why hide—

ANDREW  
It makes as much sense as escaping The Centre and hiding in Blue Cove, does it not?

Jarod grins.

JAROD  
Point taken.  
But why are you telling me this?

ANDREW  
I'm telling you because you have to look beyond what you see. No matter how solid, how real, a truth may be, it can be based on a lie.  
Never forget about the beginning of things. If you do, you will never be strong enough to face its end.

Andrew gets up, offers his hand. Jarod gets up and shakes Andrew's hand.

ANDREW (CONT'D)  
So long, Jarod. Best of luck.

Jarod doesn't reply. He simply nods and watches as Andrew walks away and disappears in the crowd.

After a while, Jarod picks up his stuff and walks to the opposite direction.

INT. THE CENTRE. MISS PARKER'S OFFICE

Miss Parker is absently watching her mother's picture.

Broots enters in a hurry, carrying a thick folder. He looks around.

MISS PARKER  
Broots! What did I tell you about coming in here without knocking?

BROOTS  
(absently)  
Sydney's not here.

MISS PARKER  
No, he's in SL-2.

Broots sighs, relieved.

MISS PARKER  
What is it?

BROOTS  
(walks over to the desk)  
I found out what the Green Files were all about.

A beat. Miss Parker's look tells him to go on.

BROOTS  
It was a genetic breeding and monitoring program. Children were monitored from birth 'till... I don't know for sure, maybe adult age.  
I found nothing to confirm if the project was shut down or not.  
But I was right about one thing. This project was a prequel to the Pretender Project.

MISS PARKER  
A prequel to the Pretender Project in 1933?  
(a beat)  
Broots, is Sydney one of the subjects?  
Is that the reason why you didn't want him to be here?

BROOTS  
(nods)  
Sydney and Jacob were two of the subjects.  
(hands her the folder)  
But they were not the only ones.

Miss Parker opens the folder. The first two files are Sydney's and Jacob's. She reads them over. Medical details, academic achievements, place of birth, etc. Their entire lives reduced to lines on paper.

MISS PARKER  
My God! This is...  
(she flips to the third file and gasps)  
My mother was on it too?

BROOTS  
Your mother, Jarod's mother. All those who parented the Red Files and some others I never heard of. Even Michelle and Ben Miller were on it too.  
But that doesn't make any sense. You told me your mother and Ben met by accident.

MISS PARKER  
That's what he told me.

BROOTS  
At least, that's what he remembers.  
Either way, they were all monitored by The Centre their entire lives. And your great-grandfather was behind the whole thing.

MISS PARKER  
Sydney and Jacob spent their early childhood in a concentration camp.

BROOTS  
That makes us wonder how strong The Centre was.

MISS PARKER  
And still is.  
(grabs her mother's picture frame and stares at it for a moment)  
This is getting out of our league, Broots. We need help.

BROOTS  
Are you thinking of someone in particular?

MISS PARKER  
Yes. But I have to wait for him to call.

BROOTS  
What are you gonna do in the meantime?

MISS PARKER  
(puts the frame down)  
I'm gonna call Ben and check up on him.

INT. WHITE'S CAR - DAY

White is furious, his knuckles are white as he grips the steering wheel tight.

WHITE  
No one plays with me, missy.

White is so focused on his driving that he doesn't notice the police car behind him. That is, until it passes by and signals him to pull over.

White sighs, but does as asked.

EXT. ROAD - DAY

One of the two officers exits the vehicle and walks towards White's car.

OFFICER  
License and registration, please.

White opens the glove compartment. He reaches inside, takes out his documents and delivers them to the officer.

He tries to keep his composure, but he knows something is wrong.

OFFICER  
(reads the papers, talks on his radio)  
Come over here, Dan. I think it's him.  
(to White)  
Do you mind stepping out of the car?

WHITE  
Is there something with my papers?

OFFICER  
(putting a hand on his holster)  
Please exit the car, sir.

White exits the car. He watches as officer Dan approaches. So far, nothing is lost.

WHITE  
Can I ask what's all this about?

OFFICER DAN  
You sure it's him, Peter?

OFFICER PETER  
(ignoring White, yet keeping an eye on him)  
Yeah, the license confirms it.  
(turning to White)  
We received a call a few minutes ago. About you forcing a young woman inside your car trunk.

WHITE  
What? No! That's insane! Who told you that?

OFFICER PETER  
She did. From her cell phone.

White says nothing.

OFFICER DAN  
Open the trunk.

WHITE  
I can assure you I didn't kidnap anyone.  
I'm on my way home. Just had a long day and-

OFFICER PETER  
Open the trunk. Now!

White swallows his anger, goes to his car and opens its trunk. To his surprise, inside he finds Emily bounded with tape at her feet and wrists. He notices her hands are free, the tape bitten off, and she's holding a cell phone tightly.

She recoils a bit as she sees White's face.

The look on his face tells he has no idea how that happened.

Officer Peter and Officer Dan draw their guns on White.

OFFICER PETER  
Freeze! On your knees! Do it!

White does as told, still dumbfounded.

Officer Peter cuffs him and takes him to the police car.

WHITE  
I never saw her! I have no idea how she got there! I swear it's the truth!

Meanwhile, Officer Dan checks Emily for injuries. After making sure she's all right, he removes the tape from her ankles and helps her out of the car trunk.

OFFICER DAN  
You all right, miss?

EMILY  
(nods)  
Just thirsty, that's all.  
(takes a deep breath)  
He grabbed me at the parking lot when I was walking to my car.

WHITE  
(yells out)  
That's a lie, you bitch!

Officer peter twists White's arm.

OFFICER PETER  
Shut up!

EMILY  
Check his glove compartment. He told me he had a gun there in case I tried to escape.

Officer Dan leaves Emily's side and goes to check on the glove compartment.

ON WHITE

White can only watch as Officer Dan retrieves his gun and his 'Hunter-Folder' on Emily. Officer Dan shows Officer Peter the snapshots of Emily and the gun.

Officer Peter twists White's arm harder. White grimaces.

OFFICER PETER  
Never saw her, hey?

Officer Dan checks under the seat and finds something else there. Another folder.

OFFICER DAN  
I found another folder.  
(checks its contents briefly)  
It's filled with newspaper clippings about several rapes occurring on the east coast. All refer an albino as a possible suspect. There's also a list, with the vic's names crossed over.

OFFICER PETER  
Got anything to say in your defense?

White doesn't respond.

OFFICER PETER  
You have the right to remain silent. You have the right to an attorney...

White stops listening to Officer Peter. He simply looks at Emily. He can't be sure, but it feels like she's smiling.

INT. THE CENTRE. SIM-LAB

Miss Parker enters Sydney's area just as he and Broots watch another of Sydney's twin experiments.

MISS PARKER  
Don't you ever get tired of that?

Broots turns around, but Sydney keeps his eyes on his subjects.

SYDNEY  
There's work to be done here, Parker.

MISS PARKER  
Yes, there is.  
(to Broots)  
Might I ask... What are you doing here, sitting on your ass?

BROOTS  
I... I...

MISS PARKER  
Get back to work. I expect results when I come back.

SYDNEY  
(turning)  
You leaving again?

MISS PARKER  
I'll be back a.s.a.p. I just need to go check up on someone.

BROOTS  
I-is everything all right?

MISS PARKER  
I hope so.

SYDNEY  
Parker... Broots told me what happened with you in Carthis.

MISS PARKER  
You really can't keep your mouth shut, Shaggy.

SYDNEY  
Are you all right, Parker?

MISS PARKER  
I'm fine, Syd. I'm only going to see a friend.

Sydney nods.

Miss parker turns and exits the sim-lab.

BROOTS  
You think she's fine?

SYDNEY  
She needs her room now, Broots.  
In the meantime, it wouldn't hurt to have something good to surprise her when she returns.

BROOTS  
So, now you're taking her side.

SYDNEY  
Mere survival skills, my friend.  
As long as she has you to chew off, I'm safely off the hook.

INT. THE CENTRE. CORRIDOR

As Miss Parker walks toward the elevator, she flips open her cell phone and dials a number.

OPERATOR (V.O.)  
The number you just dialled is no longer available. Please contac-

Miss Parker ends the call just as she reaches the elevator. She goes in and presses the button to ground level before dialling again on her cell phone.

This time the call is answered.

MISS PARKER  
Sam, meet me at the lobby. We're going on a trip.

Miss Parker ends the call and puts the cell phone back in her pocket.

The elevator doors open and she almost bumps into Lyle. She goes right past him and continues on her way.

Lyle smirks, turns around and follows her.

LYLE  
Someone's in a hurry.

MISS PARKER  
Don't you have something rotting on your fridge?

LYLE  
Always the Miss Sympathy.  
I heard you went to Carthis. Found anything interesting there?

MISS PARKER  
Ask the new guy. He was there too.

Miss Parker walks faster. Lyle stays behind.

Lyle  
I can't. No one's seen him since then.

Miss Parker doesn't look back. She continues on her way out; her face a storm of mixed emotions – confusion and fear subsiding.

She reaches the lobby where Sam is waiting for her. Without a word, he simply joins here and together they leave the building.

INT. THE CENTRE. ANGELO'S QUARTERS

Angelo stares at the vent, shakes his head. He seems to be curious about something, but something's holding him.

ANGELO  
Too soon. Help Daughter and Friend when right. Not now.

Then, something changes. His curiosity wanes and turns into alarm. He stares at the vent again. This time he knows he has to go.

He gets up from his bed, goes to the grid, removes it and climbs in.

INT. THE CENTRE. AIR VENT

We follow Angelo across the air vents, until he reaches the nursery level. Hiding behind the grid, he watches the little Parker (no more than 2 years old) draw something with crayons. The whole environment is sterile white and offers no stimuli.

ON THE CHILD

The little Parker (no first name given) stops drawing and looks at the grid.

For a while his eyes lock with Angelo's and they look as if changing information.

Then the child nods, as if understanding, and returns to his drawing.

ON ANGELO

Angelo  
Soon.

He turns around and starts crawling away.

ON THE CHILD

We return briefly to little Parker and see a glimpse of what he's drawing.

It's the symbol for infinity, the number eight, drawn over and over again.

EXT. BEN MILLER'S BED AND BREAKFAST – TWILIGHT

Miss Parker's car parks in front of Ben Miller's place.

The lights in the house are on.

Miss Parker and Sam exit the car. She draws her weapon, anticipating the danger. Sam follows her example.

Slowly and carefully they make their way to the front porch.

Miss Parker knocks on the door.

No answer.

She tries to peek inside but the curtains are drawn.

She tries the knob. The door opens.

It doesn't take more than a glance to see the pool of blood covering the floor. Miss Parker tries to avoid looking, but it's too late.

The image of Ben Miller's mutilated body is one thing she will never forget.

The world around her disappears once more. This time the Voices aren't talking. They are screaming. Like they never did before.

One Voice, however, rises over the rest. Her mother's.

CATHERINE (V.O.)  
Images of the past... Family secret...

INT. THE CENTRE. MR. COX'S STUDIO

With a passion hardly understandable, Mr. Cox on a white lab coat, works on another of his taxidermy experiments. The small puppy has only one eye yet.

Cox is about to insert the other one when the phone on the wall rings.

He puts everything down and goes to answer it.

MR. COX  
Cox here.  
Yes, sir.  
You want me to-?  
Shouldn't a sweeper-  
No, no problem. I'll take care of him him.  
Yes, then I'll handle the mother.

Mr. Cox puts the phone down.

MR. COX  
I'll finish you some other time, Fluffy.

He removes his lab coat, hangs it and leaves the room.

DARKNESS

Then, a flick of the light. Images regaining definition.

INT. BEN MILLER'S BED AND BREAKFAST. BEDROOM - NIGHT

Miss Parker opens her eyes. She recognizes the place.

Pictures of her – no, not hers, her mother's – fill the room.

She's lying on the bed, still fully dressed. She sits up on the bed, sees Sam sitting at a chair watching her.

MISS PARKER  
What happened?

SAM  
You passed out.  
I brought you here. Figured you could use some rest.

MISS PARKER  
How long was I...?

Her head still hurts. The Voices are not screaming anymore, but the choir of spirits still echoes inside her head.

SAM  
About three and a half hours.

MISS PARKER  
What about Ben? Is he...?

Sam nods. Miss Parker looks down.

MISS PARKER  
Damn him! He knew I was coming here!  
This is him returning the favour.

SAM  
I took the liberty of cleaning everything up. If this was Centre's work, we should avoid using local authorities.

Miss parker nods.

MISS PARKER  
You did good, Sam.  
What about the...  
(deep breath)  
the...

SAM  
I buried him.

Miss parker gets up, moves to the door. Sam gets up from his chair.

Only then, Miss Parker notices the old photo-album leaning against the chair.

Sam follows her look, grabs the book and delivers it to Miss Parker.

MISS PARKER  
Where did you find this, Sam?

SAM  
He was clutching it. Holding it as if it meant the world to him.

Miss parker feels the brown leather cover. No drawings, only four words: IMAGES OF THE PAST.

Miss Parker raises his head to look at Sam.

SAM  
I didn't open it, Miss Parker.

Doing her best to hide the anxiety, Miss Parker opens the book. She sees a painting of an angel.

INT. PARKER FAMILY HOUSE. MR. PARKER'S OFFICE – FLASHBACK

A very young Miss Parker (no more than 7 or 8 years old) ventures inside the empty office. Her curiosity leads her to the highest shelf that she can reach.

Among the dozens of books that fill the room, one captures her attention. She retrieves it from the shelf, opens it.

A painting of an angel.

She flips to the next page.

Written in golden classic lettering are the words THE PARKER FAMILY.

Young miss Parker smiles, then she hears a loud voice, an angry voice. Aiming at her.

She turns her head.

Mr. Parker removes the book from her hands and slaps her in the face.

He says something to her, she nods, sniffing and hurting.

PRESENT

Miss Parker is clutching the photo-album tightly.

She flips to the second page.

Nothing. No photos, no drawings.

MISS PARKER  
Images of the past... Family secrets.

SAM  
You all right, Miss Parker?

Miss parker closes the photo-album.

MISS PARKER  
Let's go, Sam.

SAM  
Where to, Miss Parker?

MISS PARKER  
Home. We had enough for one day.

Miss Parker leaves the room, without looking behind. Sam follows her, turning off the light as he closes the door.

EXT. SYDNEY'S OFFICE - DAY

Sydney is reviewing some reports, when Broots comes in, trying but failing to hide his anxiety.

BROOTS  
Syd! Syd!

SYDNEY  
Calm down! What is it, Broots?

Broots retrieves a DSA disc from his shirt pocket and hands it over to Sydney.

BROOTS  
You have to go to see this!

SYDNEY  
What is it?

BROOTS  
Don't ask. You have to watch it to believe it!

Sydney nods, puts the disc on the DSA reader and begins watching.

ON SCREEN – BLACK AND WHITE

Lyle and Jules are in Lyle's office.

Jules retrieves a small picture from his pocket and hands it over to Lyle.

JULES (O.S.)  
I'll be leaving to Carthis in a few minutes. While I'm gone, I want you to kill this man.

Lyle examines the picture.

LYLE (OS)  
Any preferences?

JULES (OS)  
Make it painful.  
(smiles)  
Use your imagination.  
The address is on the back of the picture.

Lyle flips the picture to read the address.

ON SYDNEY

He gasps as he sees who the target is.

SYDNEY  
My God! That's Ben Miller! Miss Parker...

BROOTS  
We have to warn her, Syd!

SYDNEY  
Yes. Maybe there's still time to stop it from happening.

Sydney grabs his cell phone, dials Miss Parker's number.

She answers.

MISS PARKER (V.O.)  
(ice cold voice)  
What?

SYDNEY  
(sighs)  
So you already know... I'm sorry about Ben, Parker.

MISS PARKER (V.O.)  
How do you-

SYDNEY  
Broots found a DSA that showed our new boss delivering someone the assignment. I called you as soon as I learned of this, but-

MISS PARKER (V.O.)  
Who was it?

SYDNEY  
Parker, right now, I don't think you-

MISS PARKER (V.O.)  
Damn it, Syd! You didn't see him! He was tortured! Someone tortured a man that could have been my father!  
Tell me who's the son of a bitch who killed him!

SYDNEY  
Lyle was handed over the assignment, but I'm not sure if he-

The call is finished on Miss Parker's end.

Sydney puts his cell phone down and sighs.

SYDNEY  
We were too late, Broots. She probably go after Lyle now.

BROOTS  
What about you? What're you gonna do?

SYDNEY  
I'll pray.

BROOTS  
(surprised)  
For Lyle?

SYDNEY  
For her soul.  
In the meantime, find out if Lyle really went through with the assignment.

BROOTS  
You don't think he's capable of it?

SYDNEY  
I know he is. But something tells me, the real threat is the new Perrgodak.  
Find out everything you can about him.

BROOTS  
I already did that. I found nothing except the tip that led Miss Parker to Carthis.

SYDNEY  
There's got to be something else, Broots!

BROOTS  
I'll do what I can...

Broots leaves Sydney's office. Sydney closes the DSA reader and returns to his papers.

INT. THE CENTRE. CORRIDOR

We follow Broots to his station. He goes to an empty desk, puts down his papers on Perrgodak (the snapshots, the search results, the project files) and tries to make sense of it.

INT. PARKER FAMILY HOUSE. MR. PARKER'S OFFICE – MORNING

Miss Parker walks inside the office and walks straight to the shelf.

Still the same shelf, but the height has changed.

The book is still there. Gaining dust. She removes it slowly.

No one around to see her discomfort.

She sits at the desk and opens the book.

The painting of an angel

A turn of the page.

THE PARKER FAMILY

Int. the centre. Tech room

Broots is now writing the name Perrgodak.. Under it, he writes the three anagrams he had previously come up with.

Unaware of his movements, Broots makes a circle right in the middle of the word with his pen. The word GOD catches his attention.

BROOTS  
It can't be...

He writes the letters G-O-D down and crosses the letters from the original word. Now he has PERRAK.

INT. PARKER FAMILY HOUSE. MR. PARKER'S OFFICE – MORNING

Miss Parker flips to the third page. The book falls from her hands and hits the desk.

On the open page, we see an old black and white picture of Jules.

The date below the picture: September 8, 1902.

The name: Theo Parker.

TO BE CONTINUED ON THE SECOND PART  
OF MY POST IOTH QUADROLOGY

THE HIGHER THEY ARE...

(ALREADY BEING WRITTEN. WON'T POST ANYTHING THOUGH, NOT BEFORE I HAVE AT LEAST A THIRD OF IT WRITTEN)


End file.
